His only link to the outside world is a telephone that will not dial out. During the occasional calls he receives, usually wrong numbers, the narrator remembers his former life growing up in Injury, Alaska with his Mother, an often unemployed single parent, and his older brother, Charlie, a sometime boxer, sometime actor. Throughout the course of this extraordinary novel, the unwilling captive draws his life-story in stickfigures on the walls. From the difficulty of his birth, to his sickly childhood, to adventures with his brother, the narrator depicts his crazy life, which is at once fascinating and heartbreaking. The one memory that haunts him is that of watching a movie about slaves on television and how that one slave, the one for whom Kamby Bolongo Mean River meant freedom, would never relinquish the idea of returning home.

    Nothing in the World is a memorable debut."-Laila Lalami, author of Hope and Other Dangerous PursuitsNothing in the World is sparingly written, yet with great detail and emotion.

    With a mix of traditional, literary prose and bold – some might even say irresponsible – experimentation, Ben Greenman explores the ins and outs of modern romance. Expect tears, nudity, and recrimination.Both familiar in their humanness and wholly original, these imaginative stories take us all over the map in time, place, and circumstance. From the halfhearted summer affair between a part-time bartender and a married doctor in a Miami hotel to the cryptic pseudo-erotic love letters to a friend who is “more than a friend,” we experience the love of pop songs, the love of cohabitation in Chicago, and love that is so transporting it takes us to the moon–literally.

    Written with unsparing honesty, these stories vividly illustrate love's complexities, the intricacies of family relationships, struggles with sexual identity, and the specter of AIDS. Whether chronicling a dying man's acts of vandalism, a divorcée under house arrest, a Mormon couple's potluck dinner for their few homosexual acquaintances, or a young Los Angeles boy's sexual awakening, the stories in Guess Again are full of wit, subtlety, and emotional generosity.

    With a fluency of tone and a gifted eye, he examines the dark and unfathomable moments in the most committed relationships; the small distances that stretch into miles between generations and couples when long-buried secrets tumble out into the light; or the eccentricities that may label us as odd yet mark us as unique. Capturing the bewilderment and tenderness in failed connections or missed moments, his characters stand vivid in their human frailty and we warm to them almost despite ourselves. A lonely wife determined to gather her far-flung family for a reunion invents the perfect lie to persuade them; an old woman recalls how she once trained a black crow the art of thieving; and the off-duty small-town cop on his last round of the evening who does a distressed family a great service when he summons the courage to shoot their gravely injured dog.These poignant tales reveal the subtleties in love and indifference or the strange, sad, breathtaking tricks of chance that can change a life in a second. As Lychack moves among these characters with all their virtues and failings, he observes the inevitable disparity between their realities and their dreams even while investing their stories with wit, humility, and a large measure of grace. That he succeeds so remarkably in transferring it all to the page is evidence of his prodigious talent.

    "He brings to life characters and situations as vivid and compelling as any in contemporary literature."--Michael Dorris, The Washington Post Book World.

    It has the potential to be groundbreaking in its raw, honest portrayal of a just-barely-functioning family. Billy Lombardo is interested in the beauty of words. He is also a great observer of the world around him, and he is exquisite and precise in getting that world onto the page.Billy Lombardo is the author of The Logic of a Rose: Chicago Stories, a Chicago Tribune “Best Fiction of 2005” selection. His novel Man With Two Arms is due from The Overlook Press in 2010.

    A teacher struggles to bond with jaded students as bodies drop from the sky; a man meets his illegitimate son for an awkward pumpkin picking excursion; a professor develops a sexual obsession with the student destined to surpass him; and a female cyberotica writer looks for conventionality in the form of a suitor who may be in love with her dog. Whether writing about a small town murder, homeschooling, experiments on lab mice, or the disintegration of a long marriage over the course of a golf game, Amend's characters are more than whip-smart and laugh-out-loud funny, they are chillingly real, memorable people looking for love--or what passes for it.

    A preacher bathes his ill and elderly mother, not knowing that she has mistaken him for the long-lost cousin she watched murder his brother in her father’s tobacco field. In six stories that read like novels in miniature, Kyle Minor plumbs the depths of human mystery, where they meet our kindnesses and our cruelties, our generosities and our pettiness.Kyle Minor’s work has appeared widely in magazines and anthologies, among them Best American Mystery Stories 2008, The Southern Review, The Gettysburg Review, Surreal South, and Twentysomething Essays by Twentysomething Writers: The Best New Voices of 2006. His work has been twice nominated for the Pushcart Prize. Kyle received his MFA from Ohio State University and is currently a visiting professor at the University of Toledo.

    Henry Prize Stories 2008 is studded with extraordinary settings and characters: a teenager in survivalist Alaska, the seed keeper of a doomed Chinese village, a young woman trying to save her life in a Ukrainian internet caf�. Also included are the winning writers' comments on what inspired them, a short essay from each of the three eminent jurors, and an extensive resource list of literary magazines.

    Frederick Barthelme creates an unforgettably wistful cast of characters, ordinary people moving carefully and curiously through a gently painful world.

    Desperate for human connection, they listen through walls and engage in such obsessions as collecting hairs left behind by lovers. These 24 passionately and intricately rendered stories secure Lutz's place at the forefront of the contemporary fiction of disaffection.

    A story set in the far antiquity of Bakker's fictional world world of Eärwa, the setting for his Prince of Nothing and Aspect Emperor series.

    With a foreword by Robert Shapard and an afterword by Christopher Merrill, this book brings you fresh approaches to an exacting form that demands precision, a species of brevity that is surprisingly expansive. Writers say the pieces are hard to compose, but readers say they are easy to appreciate, a pleasure to envision, a wonder to watch life spun out and painted in small places. Real and surreal, lyrical and prosaic, here are 135 stories by 89 authors, certain to make you think.

    Michael Martone is its own appendix, comprising fifty “contributors notes,” each of which identifies in exorbitant biographical detail the author of the other forty-nine. Full of fanciful anecdotes and preposterous reminiscences, Martone’s self-inventions include the multiple deaths of himself and all his family members, his Kafkaesque rebirth as a giant insect, and his stints as circus performer, assembly-line worker, photographer, and movie extra. Expect no autobiographical consistency here. A note revealing Martone's mother as the ghost-writer of all his books precedes the note beginning, “Michael Martone, an orphan . . . “ We learn of Martone’s university career and sketchy formal education, his misguided caretaking of his teacher John Barth’s lawn, and his impersonation of a poor African republic in political science class, where Martone's population is allowed to starve as his more fortunate fellow republics fight over development and natural resource trading-cards. The author of Michael Martone, whose other names include Missy, Dolly, Peanut, Bug, Gigi-tone, Tony's boy, Patty's boy, Junior's, Mickey, Monk, Mr. Martone, and “the contributor named in this note," proves as Protean as fiction itself, continuously transforming the past with every new attribution but never identifying himself by name. It is this missing personage who, from first note to last, constitutes the unformed subject of Michael Martone.